Nancy Spero is fighting for feminism

This show's furious energy is unleashed immediately as you enter the first room.

You are confronted by a maypole: not the sprightly totem of spring fetes but a bleak mast from which screaming heads printed on aluminium hang from chains and ribbons.

In Maypole: Take No Prisoners II (2008), Spero revisits her rage and shame at the Vietnam conflict, and offers a stark protest against war in general. The installation was created the year before Spero died, aged 83, and it is in part a summation of her career. The maypole heads reappear in drawings, paintings, friezes and long scrolls of paper gathered at the Serpentine from 50 years of her work. Images from across history become logos of anguish which Spero reuses in endlessly inventive ways.

A head with a dagger-like tongue appears throughout, spewing blood and bile. In Male Bomb (1967) from Spero's War Series, it is at the end of five penises which emerge in a circular form from a figure's crotch, recalling spinning helicopter blades. In Azur (2002), meanwhile, it is part of a compendium of representations of woman, both ancient and modern, set against vividly coloured, expressively painted grounds.

Some images seem to celebrate womanhood but Spero, a committed feminist, attacks male aggression by including depictions of women bound and gagged, and a photograph of a hanged figure.

As most works are on paper, they are hung in the dimness that protects them from damaging light.

But the gloom also sets an appropriately solemn tone for Spero's singular and uncompromising vision.